Category Archives: Fantasy

Books, Fantasy

Review: “Elantris”

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Elantris is Brandon Sanderon’s debut fantasy novel. It has a blurb from Orson Scott Card on its cover, to the gist that this is the finest fantasy in who knows long to catch Card’s notice. As my sister put it, this author must have died when he got that.

It’s an impressive debut, and certainly only of the more imaginative fantasies I’ve read. I really enjoy it when an author is able to construct a self-consistent, concrete world without falling into the overused Tolkeinian tropes. (You can’t see it, but right now I’m staring pointedly at every Vulcan-eared archer elf and bearded miner dwarf that has ever existed ever.) It certainly borrows from other fantasy mainstays, and it has a lot of commonality with some other things I’ve seen – Sabriel and its sequels, the Edeard storyline of Peter Hamilton’s Void Trilogy, even A Game of Thrones (though I actually like the characters in Elantris) – but Elantris is constructed in a very unique way.

The plot takes place in a land where the eponymous city was once the seat of magical powers that let its citizens live however they pleased, without worrying about any basic necessities or threat of invasion. A key aspect of the city’s magic was that only Elantrians could perform it – but anyone, anywhere in the kingdom, could suddenly find themselves struck by the transformation into an Elantrian. The culture of the kingdom is simultaneously elitist and egalitarian, and no one goes hungry or suffers from illness. And so life goes on, until one day a disaster strips the Elantrians of their power and turns the city, along with all its magical people, into decaying ruins. The remaining population of the kingdom throws down their now-impotent rulers and locks them all within Elantris’ walls, and the mercantile class become robber barons to impose their own feudal rule on the kingdom. Still…anyone, anytime can be struck by the transformation – but now they are shunned, despised, and imprisoned inside the fallen city.

The novel follows three key characters ten years after the disaster takes place. Raoden, popular heir to the new throne of the kingdom, finds himself turned into an Elantrian and immediately begins to unravel the mysteries surrounding the ruin after his father tosses him into the city. Sarene, a twist on the classic tomboy princess, is en route from another kingdom to join Prince Raoden in a political marriage when his transformation hits; with him declared dead, the treaty governing the kingdoms’ alliance makes their marriage binding as she remains ignorant of his true fate. She must get to know her new homeland while politically maneuvering to safeguard both kingdoms – as the alliance was an important move to present a united front against a third aggressor nation. Meanwhile, Hrathen, a high priest of that third nation, has quietly infiltrated the kingdom and seeks to convert its populace to his religion before his Emperor loses patience and decides to destroy them all.

A word of warning: minor spoilers follow. But I promise that they are tiny.

One of the things I particularly liked about this novel is how self-consistent the mechanism for doing Elantrian magic is. This magic is not vaguely defined – nobody “searches out with their feelings,” nobody “embraces the power rushing through them,” nobody practices the perfect flick of their magic wand. After reading this book, I realized that now I know how to do Elantrian magic, if I lived in this world. Going a step further, we readers actually get to see how research into magic would work in Elantris – that is, how to discover and construct new spells. It’s a very open-ended system, and very specifically defined, lending this fantasy an air of….well, perhaps “realism” isn’t the right word, so let’s go with “concreteness.” All this isn’t frivolous: the basis for and technique of Elantrian magic becomes a major plot point. And with us readers given the tools to follow along, I found myself able to solve the puzzle of Elantris before the characters did. (Fortunately, they were not very far behind!)

In fact, I’d have to say that this is one of the most economical novels I’ve read: Sanderson introduces very little into the book that doesn’t become important in some way or another. This is generally good, but at the same time, sometimes it makes events in the plot seem a little too easy to see coming. Of course the prince and princess eventually get together; of course the high priest’s overzealous acolyte causes his downfall; of course the autistic child we briefly meet has a super-important role to play in the book’s climax. This is not to say that there aren’t plenty of twists that are surprising – there are – or characters who die tragic deaths – there are those, too – or even unexpected relationships that develop – that also happens. It’s kind of amazing just how many events got packed into this book, for its relatively small size. I think I enjoyed the book more for being able to piece things together on my own: in a way, that proves the logic and consistency underlying Sanderson’s world and shows that his few basic principles go a lot further to move the plot along than a sudden “aha, reader! I bet you weren’t expecting me to throw THIS at you!” sort of forced “twist.”

Sanderson creates a colorful cast of secondary characters, but for the most part he seems to enjoy exploring the relationships that develop between them more than he likes looking at how the characters might evolve. In the cases of Sarene and Raoden, in particular, the plot is an affirmation of being true to oneself in the face of an adverse situation or heckling from others. They come out of their experiences richer, but that is more because they shaped the world around them than the reverse. Hrathen, though, is a much more interesting case: over the course of the plot we see him struggle with his faith in an attempt to reconcile its “convert or die” mentality with his personal belief that he is genuinely trying to help the people of the kingdom. The particular manner of his fall and transformation at the climax is a little surprising, yet makes perfect sense – like much of this book. Sadly, Hrathen’s part in the climax of the plot is also the subject of the novel’s most moralizing speechifying; Sanderson manages to stop just after making his point, though, before he gets overbearing.

The author closes Elantris not with a complete triumph of good over evil, but with the balance of power restored. Elantris leaves the door wide open for a sequel, with antagonists clearly still extant in Sanderson’s world and new facets of Elantrian (or other) magic yet to be learned. I will be happy to find out what those facets are when I can. For now, though, Elantris is a fine standalone novel that provides a fresh look at a lot of fantasy themes in a thoroughly imagined universe.

Art, Fantasy, Geology, Maps, Oghura, Original fiction

The Map

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I have come into the possession of a most extraordinary object, which I procured rather fortuitously before the auction of goods from an insolvent boutique on the East Boulevard. I do not know how long it lay, disused and uncared-for, in a dusty drawer at that establishment, or when the boutique acquired it. The artifact in question is a curious map of the southern continent. I have scrutinized the place names and cross-referenced the markers corresponding to cities and towns with the atlases and charts in the City Library, and I have determined that this map dates from approximately 530 A.E. It covers the area from the North Barovin Mountains in its upper-left extremity, to historic Vorsvenbal in the south and all of South Brenin, Kalatchal, and part of Olahira to the east.

The dòm Gurand Map

The famous dòm Gurand Map of our southern continent does not only provide interesting historical and societal context, but contains some surprisingly accurate geographic information. One can examine the map for geological purposes, for evidence of historical wind patterns, and for characteristics of the climate of the year 530. Drainage areas of rivers are readily apparent, for instance, and the cartographer has captured some of the different qualities in the mountain ranges. Continue reading The Map →

Books, Fantasy, Science Fiction

Review: In Conquest Born

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It’s interesting to re-read a book that made a huge impression on me the first time around. Some of them seem less exciting, while some hold up amazingly well upon multiple reads. (The best example I can think of for the latter case: Dune. Despite identifying the traitorous character by name on page 28, before we ever set foot on the eponymous planet, Herbert still surprised me with the betrayal…and when I re-read the book six months later, it happened again. I was getting all, “Aha! The Atreides are figuring it out! Duke Leto has a chance, maybe he’ll get away this time oh NOOOOOOOO” but I digress.)

The first time I read C. S. Friedman’s In Conquest Born, I was incredibly impressed. I immediately classed the book as one of my favorite science fiction novels. On my mental tally, it went right up there with Dune.

The novel explores the kinds of societies and personalities that might evolve in an environment of endless conflict. Two interstellar nations, the Azean Star Empire and the Braxin Holding, have been locked in a galactic-scale war for such a long time that, though the original antagonism is recorded, none of the combatants really care why the war started in the first place. The war has become a way of life for both sides, and both cultures have evolved along parallel – but mutually exclusive – courses in response to the war and to each other. The Azeans, determined to make themselves into the perfect fighting race, have started genetically engineering themselves – gunning not just for a specific “ideal” phenotype but for telepathic abilities, which the Braxins specifically abhor. The elitist Braxaná rulers of the Holding sought to preserve, by all the means at their disposal, the ancient warrior culture that first brought them to successful dominance over the other tribes of their planet; they hope that their traditions and ideals will carry them to victory in future conflicts as well. As Zatar puts the distinction between Empire and Holding: “While your people developed Civilization, we developed Man.”

In that environment, both nations accidentally produce a representative who embodies everything their culture has been evolving towards. The first half of the novel chronicles the formative years for Anzha lyu Mitethe, in Azea, and Zatar of the Braxaná. They both become renowned commanders in the Endless War. At almost the exact midpoint of the book, they meet each other in a room – and in the second half, the galactic war becomes an obsessive personal vendetta for both characters. They seek to manipulate their societies’ political and military goals towards their personal objective of destroying their counterpart.

The story is both epic and intimate, with references to more than enough planets, cultures, species, and events to establish a credible universe. Like Friedman’s other science fiction, major themes include self-discovery, the interplay of sexuality and power, and descriptions of characters and cultures that are neither fully good or evil.

Maddeningly, Conquest was Friedman’s first novel and not only did she send the manuscript to a publisher unsolicited, but that publisher accepted it.

Continue reading Review: In Conquest Born →

Art, Fantasy, Maps

Art Question: Map Labels

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I have been working on a map. It looks something like this:

Map Detail

The map consists of India ink laid down on top of a set of watercolor washes. (Well, technically, washes from some Derwent Signature Watercolor pencils – thanks to Robin for those!) This is actually my first excursion into something like this. I like the way the India ink sits on top of the paper, while the watercolor soaks in.

But now I have a dilemma: I’m trying to decide how, or even if, to label the map with place names. I have already digitized the map (eh, roughly…what I really need is a large-format scanner!) and have been playing around with labeling schemes on the computer. The easiest and clearest thing to do in digital form is to (at least partially) desaturate the map such that the colors are duller and the ink is perhaps 60% gray and then scrawl my labels over it. However, the physical map has fairly bright colors and the ink is, of course, nearly always black, which means that a sweeping label over those mountains or forests will not come out well. I think more experienced cartographers of fantastical lands than I would have done the labeling and the cartography simultaneously, so they could shape the trees and mountains around the words if necessary. But no, I had to go ahead and ink in all the forests and mountain ranges first.

Here is what I am wondering: if I get some, say, red ink and use my pen to write a sprawling label over one of those forests, will the ink sit on top of the black-inked trees and be generally legible? Clearly, doing that with black ink would result in an unreadable jumble, but would red cut across the existing features with enough contrast? Should I just stick with doing it all by computer? Or does anyone out there have a better idea?

Fantasy, Linguistics, Oghura

Constructing Oghuran

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Figure in the Desert
Desert Winds

It was many, many years ago when I first read The Lord of the Rings and the Redwall books, and I was always fascinated by the maps in the first few pages of each novel. Ever since then, I have been captivated by the idea of fantasy and science fiction world-building. It started with maps of my own – maps of places that didn’t exist, maps of places near my Massachusetts home as I wished they could have been, permutations of Tolkein’s maps. Eventually, I started to add to the maps notes about the cultures living in those worlds, inventing religions, societies, languages, and technologies. I began to invent prominent characters to populate my worlds, and eventually started to think about the adventures those characters would have.

The desert of Oghura and the Cathedral Galaxy are my latest such world-building exercises. Both of these have gone well beyond the “doodle stage,” as they now have characters and stories to their names. But Oghura stands out as the world that is probably the furthest along, and it is the only one of my invented worlds to have a fully-fleshed-out and fully functional language. And this is no cop-out set of invented fantasy words full of apostrophes, g’s, r’s, and q’s. Oghuran is an “a priori” constructed language that I pieced together carefully, using my knowledge of linguistics, statistics, and programming, with a liberal dose of imagination. Here is how I built Oghuran. Continue reading Constructing Oghuran →